Orchestra and Chorus of the Royal Opera House
Daniel Oren (conductor), Katie Mitchell (director)
Diana Damrau (Lucia), Charles Castronovo (Edgardo), Ludovic Tézier (Enrico), Taylor Stayton (Arturo), Kwangchul Youn (Raimondo), Rachael Lloyd (Alisa), Peter Hoare (Normanno)
-----
Designer Vicki Mortimer
Lighting designer Jon Clark
Movement director Joseph Alford
Diana Damrau’s reputation as the world’s leading coloratura soprano has been built on her extraordinary technical virtuosity, her sensitive musicianship and her acute psychological insight. In Katie Mitchell’s sometimes radical production of Lucia di Lammermoor from the Royal Opera House, she is, as the Financial Times wrote, 'brilliantly convincing'. Award winning director Katie Mitchell took a revisionist approach to the drama, updating the action to the mid-19th century and applying a feminist slant as she added new and unexpected elements. Mitchell also made extensive use of a ‘split screen’ effect on the stage, counterpointing two different pieces of action at key moments.

“Orlando is a true collaboration in that it incorporates a Western vocabulary of movement and images, based on Virginia Woolf’s text of Orlando and deriving from my background as an architect, from my life in the theater, and from my work as a visual artist.
“This work is counter-pointed and complemented by the classically trained Beijing opera star Wei Hai-min (魏海敏), which definitely brings an ancient sense of Chinese culture to the work — a culture where movement, language, the difference between spoken and sung words, are all very different from what I’ve inherited from my Western roots.
“I see this work as being one whole made of two opposites — the way you have two hands but one body, two sides of the brain, but one mind.
“This new Taipei production is based on earlier ones I did in Paris with Isabelle Huppert and in England with Miranda Richardson. The text and music are different, however, as well as the movement, because they are adapted to the talents of the great Wei Hai-min.
“As for the music, it will use traditional Chinese instruments and at times very profound contemporary electronic sounds.” ----Robert Wilson

“Orlando is a true collaboration in that it incorporates a Western vocabulary of movement and images, based on Virginia Woolf’s text of Orlando and deriving from my background as an architect, from my life in the theater, and from my work as a visual artist.
“This work is counter-pointed and complemented by the classically trained Beijing opera star Wei Hai-min (魏海敏), which definitely brings an ancient sense of Chinese culture to the work — a culture where movement, language, the difference between spoken and sung words, are all very different from what I’ve inherited from my Western roots.
“I see this work as being one whole made of two opposites — the way you have two hands but one body, two sides of the brain, but one mind.
“This new Taipei production is based on earlier ones I did in Paris with Isabelle Huppert and in England with Miranda Richardson. The text and music are different, however, as well as the movement, because they are adapted to the talents of the great Wei Hai-min.
“As for the music, it will use traditional Chinese instruments and at times very profound contemporary electronic sounds.” ----Robert Wilson

她是一个在读女博士，他是一个自由音乐人。他们看纪录片看艺术电影，他们分类垃圾保护环境，他们购买公平贸易产品抵制连锁。他们受过高等教育，以社会传播的各种正向准则，不断向彼此确认这样的自己是否算是“好人”。

一场在宜家开启的关于“孩子”的谈话炸出了这对年轻情侣潜藏的焦虑。

生个孩子是否只是顺从了人类七千五百代人世代相传的生存机制？这个星球已经承载着70亿人，资源日益匮瘠，养个孩子等于向这个世界释放了一万吨二氧化碳，堪比埃菲尔铁塔的重量比三十六年日日飞行往返北京上海留下的碳足迹还要多。生一个孩子是否算是雪上加霜？

学业结束后的事业是否真的能有美好的前景？是否只有稳定的职业才能养育好一个孩子？女人生育的痛苦男人无法感同身受，一个孩子的加入是否会给日后的生活带来种种限制？个人的未来、世界的未来对于他们来说都是未知，在重重种种的担忧之下他们无法为当下做出任何决定。

在英国作家麦克米伦（Duncan Macmillan）的戏剧作品《呼吸》中，时间和空间在两个角色不间断的对话中飞速地转换着，这种近乎歇斯底里的飞转节奏让观者甚至无法跟上场景转换的逻辑，然而这也正如现实的残酷，你还来不及为下一步的行动作出思考，未来就以你所担心的图景在眼前变成了过去。

她是一个在读女博士，他是一个自由音乐人。他们看纪录片看艺术电影，他们分类垃圾保护环境，他们购买公平贸易产品抵制连锁。他们受过高等教育，以社会传播的各种正向准则，不断向彼此确认这样的自己是否算是“好人”。

一场在宜家开启的关于“孩子”的谈话炸出了这对年轻情侣潜藏的焦虑。

生个孩子是否只是顺从了人类七千五百代人世代相传的生存机制？这个星球已经承载着70亿人，资源日益匮瘠，养个孩子等于向这个世界释放了一万吨二氧化碳，堪比埃菲尔铁塔的重量比三十六年日日飞行往返北京上海留下的碳足迹还要多。生一个孩子是否算是雪上加霜？

学业结束后的事业是否真的能有美好的前景？是否只有稳定的职业才能养育好一个孩子？女人生育的痛苦男人无法感同身受，一个孩子的加入是否会给日后的生活带来种种限制？个人的未来、世界的未来对于他们来说都是未知，在重重种种的担忧之下他们无法为当下做出任何决定。

在英国作家麦克米伦（Duncan Macmillan）的戏剧作品《呼吸》中，时间和空间在两个角色不间断的对话中飞速地转换着，这种近乎歇斯底里的飞转节奏让观者甚至无法跟上场景转换的逻辑，然而这也正如现实的残酷，你还来不及为下一步的行动作出思考，未来就以你所担心的图景在眼前变成了过去。

19世纪末20世纪初，俄国资本主义迅速发展，贵族庄园逐渐崩溃。
天蒙蒙亮，柳苞芙带着她的小女儿还有仆人，从巴黎回到了俄罗斯。柳苞芙的樱桃园即将被拍卖抵债，她必须回来看看，想想办法，如何保住她心爱的庄园。
虽然樱桃园拍卖在即，但庄园里的人还是整天悠闲自在地消磨时光，他们更多的在幻想而非身体力行。庄园早已资不抵债，却要给一张书柜开个纪念晚会，柳苞芙早已囊中羞涩，却要在乞丐面前装阔气，女仆幻想着自己是位小姐，白发的先生依然把自己当成一名在校大学生……
远处传来空空的砍树声、天边外神秘的弦裂声，在众人的幻想中，樱桃园被拍卖了，而它的新主人竟然是……

Through both comedy and tragedy, "Seagull" explores lives that are precariously balanced between love and indifference, success and failure, hope and despair. The first of what are considered to be Chekhov's four great plays, it sets the scene for the playwright's unmistakable mix of melancholia and laughter combined with a unique understanding of the daily torment of an unfulfilled.　

改编自斯特林堡经典悲剧作品《朱莉小姐》，讲述贵族小姐朱莉与男仆让在厨房私会，让的未婚妻克里斯汀也在厨房来来回回溜达最后睡着了，而朱莉则和让继续调情……一夜之后角色互换：仆人让成了强势的一方，朱莉则成了受到羞辱的一方。让说服朱莉从她父亲那里偷钱和他私奔。最终他给了朱莉自己的剃刀，并说服她说，唯一能够逃离困境的办法就是自杀。
Strindberg’s tragedy is reimagined for the multimedia age as theatrical performance and live filming techniques converge, lending fresh cinematic perspective to a classic story.
Aristocratic Julie and Jean, a servant in her household, are entangled in a sexually charged game. But as their dangerous pursuit of one another escalates, Strindberg’s play finds a new focus. For it is Jean’s fiancée, a cook of few words, who is given a voice in this moving adaptation that uses real-time film and sound effects to track the life-changing events through Kristin’s eyes.

Recognised for her virtuosic blend of theatre and technology, Katie Mitchell co-directs with regular collaborator Leo Warner in their Schaubühne and Barbican debuts.
'A staging of such constantly startling virtuosity it amounts to a non-stop 75-minute coup de théâtre' Time Out ★★★★★
75 mins/no interval
Age guidance 14+
Performed in German with English surtitles

入围2020年柏林戏剧节十大关注剧目之一，时长约120分钟。
“My mother always said to Live Big.
Live as much as I could.”
Three generations of women.
For each, the chaos of what has come before brings with it a painful legacy.
“I have Stayed. I have Stayed – I have Stayed for as long as I possibly can.”
Writer Alice Birch (Revolt. She said. Revolt again, We Want You To Watch), continues her collaboration with director Katie Mitchell (2071, Ten Billion, Cleansed) following Ophelias Zimmer last year.
Anatomy of a Suicide is part of the Royal Court’s Jerwood New Playwrights programme, supported by Jerwood Charitable Foundation.
The Big Idea: writer Alice Birch and director Katie Mitchell will be in conversation post-show on Tuesday 13 June. Free with a ticket to that evening’s performance.
Dialogue Club
Thu 29 June, 8pm (free but ticketed)
Dialogue Club works like a book group: see the show in your own time, then come and discuss what you thought with other audience members over drinks. Hosted by theatre-writer Maddy Costa and producer Jake Orr (founder and artistic director of A Younger Theatre).
★ ★ ★ ★ ★
‘Birch has crafted a rich, haunting, technically dazzling script’
Andrzej Lukowski | Time Out
★ ★ ★ ★ ★
‘Most productions require one viewing. Katie Mitchell’s staging of Alice Birch’s spellbinding and serious new drama is worth three.’
Maxie Szalwinska | The Sunday Times
★ ★ ★ ★
‘Hattie Morahan brilliantly vanishes... Adelle Leonce gives a beautifully judged performance... Kate O’Flynn is remarkable.’
Susannah Clapp | The Observer Read full review
★ ★ ★ ★
'This is a precise, cleverly staged and powerful drama supported by superb acting’
Ann Treneman | The Times
★ ★ ★ ★
'A sophisticated tapestry of generations and emotions'
Fiona Mountford | Evening Standard

入围2020年柏林戏剧节十大关注剧目之一，时长约120分钟。
“My mother always said to Live Big.
Live as much as I could.”
Three generations of women.
For each, the chaos of what has come before brings with it a painful legacy.
“I have Stayed. I have Stayed – I have Stayed for as long as I possibly can.”
Writer Alice Birch (Revolt. She said. Revolt again, We Want You To Watch), continues her collaboration with director Katie Mitchell (2071, Ten Billion, Cleansed) following Ophelias Zimmer last year.
Anatomy of a Suicide is part of the Royal Court’s Jerwood New Playwrights programme, supported by Jerwood Charitable Foundation.
The Big Idea: writer Alice Birch and director Katie Mitchell will be in conversation post-show on Tuesday 13 June. Free with a ticket to that evening’s performance.
Dialogue Club
Thu 29 June, 8pm (free but ticketed)
Dialogue Club works like a book group: see the show in your own time, then come and discuss what you thought with other audience members over drinks. Hosted by theatre-writer Maddy Costa and producer Jake Orr (founder and artistic director of A Younger Theatre).
★ ★ ★ ★ ★
‘Birch has crafted a rich, haunting, technically dazzling script’
Andrzej Lukowski | Time Out
★ ★ ★ ★ ★
‘Most productions require one viewing. Katie Mitchell’s staging of Alice Birch’s spellbinding and serious new drama is worth three.’
Maxie Szalwinska | The Sunday Times
★ ★ ★ ★
‘Hattie Morahan brilliantly vanishes... Adelle Leonce gives a beautifully judged performance... Kate O’Flynn is remarkable.’
Susannah Clapp | The Observer Read full review
★ ★ ★ ★
'This is a precise, cleverly staged and powerful drama supported by superb acting’
Ann Treneman | The Times
★ ★ ★ ★
'A sophisticated tapestry of generations and emotions'
Fiona Mountford | Evening Standard

入围2020年柏林戏剧节十大关注剧目之一，时长约120分钟。
“My mother always said to Live Big.
Live as much as I could.”
Three generations of women.
For each, the chaos of what has come before brings with it a painful legacy.
“I have Stayed. I have Stayed – I have Stayed for as long as I possibly can.”
Writer Alice Birch (Revolt. She said. Revolt again, We Want You To Watch), continues her collaboration with director Katie Mitchell (2071, Ten Billion, Cleansed) following Ophelias Zimmer last year.
Anatomy of a Suicide is part of the Royal Court’s Jerwood New Playwrights programme, supported by Jerwood Charitable Foundation.
The Big Idea: writer Alice Birch and director Katie Mitchell will be in conversation post-show on Tuesday 13 June. Free with a ticket to that evening’s performance.
Dialogue Club
Thu 29 June, 8pm (free but ticketed)
Dialogue Club works like a book group: see the show in your own time, then come and discuss what you thought with other audience members over drinks. Hosted by theatre-writer Maddy Costa and producer Jake Orr (founder and artistic director of A Younger Theatre).
★ ★ ★ ★ ★
‘Birch has crafted a rich, haunting, technically dazzling script’
Andrzej Lukowski | Time Out
★ ★ ★ ★ ★
‘Most productions require one viewing. Katie Mitchell’s staging of Alice Birch’s spellbinding and serious new drama is worth three.’
Maxie Szalwinska | The Sunday Times
★ ★ ★ ★
‘Hattie Morahan brilliantly vanishes... Adelle Leonce gives a beautifully judged performance... Kate O’Flynn is remarkable.’
Susannah Clapp | The Observer Read full review
★ ★ ★ ★
'This is a precise, cleverly staged and powerful drama supported by superb acting’
Ann Treneman | The Times
★ ★ ★ ★
'A sophisticated tapestry of generations and emotions'
Fiona Mountford | Evening Standard

Time: Early 18th century
Place: Scotland
Act 1
Scene 1: The gardens of Ravenswood Castle
Normanno, captain of the castle guard, and other retainers are searching for an intruder. He tells Enrico that he believes that the man is Edgardo of Ravenswood, and that he comes to the castle to meet Enrico's sister, Lucia. It is confirmed that Edgardo is indeed the intruder. Enrico reaffirms his hatred for the Ravenswood family and his determination to end the relationship.
Scene 2: By a fountain at the entrance to the park, beside the castle
Lucia waits for Edgardo. In her famous aria "Regnava nel silenzio", Lucia tells her maid Alisa that she has seen the ghost of a girl killed on the very same spot by a jealous Ravenswood ancestor. Alisa tells Lucia that the apparition is a warning and that she must give up her love for Edgardo. Edgardo enters; for political reasons, he must leave immediately for France. He hopes to make his peace with Enrico and marry Lucia. Lucia tells him this is impossible, and instead they take a sworn vow of marriage and exchange rings. Edgardo leaves.
Act 2
Scene 1: Lord Ashton's apartments
Preparations have been made for the imminent wedding of Lucia to Arturo. Enrico worries about whether Lucia will really submit to the wedding. He shows his sister a forged letter seemingly proving that Edgardo has forgotten her and taken a new lover. Enrico leaves Lucia to further persuasion, this time by Raimondo, Lucia's chaplain and tutor, that she should renounce her vow to Edgardo, for the good of the family, and marry Arturo.
Scene 2: A hall in the castle
Arturo arrives for the marriage. Lucia acts strangely, but Enrico explains that this is due to the death of her mother. Arturo signs the marriage contract, followed reluctantly by Lucia. At that point Edgardo suddenly appears in the hall. Raimondo prevents a fight, but he shows Edgardo Lucia's signature on the marriage contract. Edgardo curses her, demanding that they return their rings to each other. He tramples his ring on the ground, before being forced out of the castle.
Act 3
Scene 1: Wolfcrag
Enrico visits Edgardo to challenge him to a duel. He tells him that Lucia is already enjoying her bridal bed. Edgardo agrees to fight him. They will meet later by the graveyard of the Ravenswoods, near the Wolf's Crag.
Scene 2: A Hall
Raimondo interrupts the marriage celebrations to tell the guests that Lucia has gone mad and killed her bridegroom Arturo. Lucia enters. In the aria "Il dolce suono" she imagines being with Edgardo, soon to be happily married. Enrico enters and at first threatens Lucia but later softens when he realizes her condition. Lucia collapses. Raimondo blames Normanno for precipitating the whole tragedy.
Scene 3: The graveyard of the Ravenswood family
Edgardo is resolved to kill himself on Enrico's sword. He learns that Lucia is dying and then Raimondo comes to tell him that she has already died. Edgardo stabs himself with a dagger, hoping to be reunited with Lucia in heaven.

This new play breaks through the surface of contemporary debate to explore the messy, often violent nature of desire and the fluid, complicated roles that men and women play.

Using Samuel Richardson’s novel, Pamela, as a provocation, six characters act out a dangerous game of sexual domination and resistance.

Bluets is a story about depression and desire, pleasure and pain, and a person possessed by a lifelong obsession with the colour blue. Communing with artists like Joni Mitchell, Derek Jarman, Andy Warhol and Billie Holiday, blue is their constant companion as they navigate the devastating pain of a life-altering heartbreak.

“Suppose I were to begin by saying that I had fallen in love with a colour.”

Bluets is a story about depression and desire, pleasure and pain, and a person possessed by a lifelong obsession with the colour blue. Communing with artists like Joni Mitchell, Derek Jarman, Andy Warhol and Billie Holiday, blue is their constant companion as they navigate the devastating pain of a life-altering heartbreak.

Based on acclaimed author Maggie Nelson’s unique and electrifying book, Bluets is an adaptation by playwright Margaret Perry (Paradise Now!, Porcelain, Collapsible), directed by Katie Mitchell (Little Scratch, Anatomy of a Suicide).

Performed by Emma D’Arcy (House of the Dragon), Kayla Meikle (ear for eye) and Ben Whishaw (Cock, James Bond, This is Going to Hurt, Paddington).

Originally developed at Deutsches Schauspielhaus Hamburg.

*Emma D’Arcy, Kayla Meikle and Ben Whishaw are scheduled to appear in every show.

‘The book that changed my life… it’s just brilliant.’ Sophie Mackintosh, Guardian on Maggie Nelson’s Bluets

‘An arty, smart and gorgeous meditation on the color blue’ Time Out on Maggie Nelson’s Bluets

舞台剧将对玛丽莲·梦露和希腊神话中“世上最美的女人”海伦，这两位相隔数千年的标志性美人之间的探索。

Norma Jeane Baker of Troy is a spoken and sung performance piece by poet, essayist, and scholar Anne Carson (Eros the Bittersweet: An Essay; Autobiography of Red: A Novel in Verse; Nox; Float), intimately and powerfully staged by Katie Mitchell, whom the Guardian calls “Britain’s greatest living theater director,” in The Shed’s 500-seat Theater. Actor Ben Whishaw (Skyfall, The Crucible on Broadway, Mary Poppins Returns, A Very English Scandal) and soprano Renée Fleming (performances in international concert halls and opera houses; Carousel on Broadway; soundtracks for The Shape of Water, Three Billboards Outside Ebbing, Missouri) star in an exploration of the lives and myths of Marilyn Monroe and Helen of Troy—iconic beauties who lived millennia apart.